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| global objects toward a connected art history: Global Objects Edward S. Cooke, Jr., 2022-10-04 A bold reorientation of art history that bridges the divide between fine art and material culture through an examination of objects and their uses Art history is often viewed through cultural or national lenses that define some works as fine art while relegating others to the category of craft. Global Objects points the way to an interconnected history of art, examining a broad array of functional aesthetic objects that transcend geographic and temporal boundaries and challenging preconceived ideas about what is and is not art. Avoiding traditional binaries such as East versus West and fine art versus decorative art, Edward Cooke looks at the production, consumption, and circulation of objects made from clay, fiber, wood, and nonferrous base metals. Carefully considering the materials and process of making, and connecting process to product and people, he demonstrates how objects act on those who look at, use, and acquire them. He reveals how objects retain aspects of their local fabrication while absorbing additional meanings in subtle and unexpected ways as they move through space and time. In emphasizing multiple centers of art production amid constantly changing contexts, Cooke moves beyond regional histories driven by geography, nation-state, time period, or medium. Beautifully illustrated, Global Objects traces the social lives of objects from creation to purchase, and from use to experienced meaning, charting exciting new directions in art history. |
| global objects toward a connected art history: Global Objects Edward Strong Cooke (Jr.), 2022 The established narrative of art history is traditionally narrated through national or cultural lenses that focus on specific artistic practices characteristic of a given nation or culture: bronze in ancient China, architecture in ancient Rome, or oil painting in early modern Europe, for instance. These practices accord with a modern Western frame of reference, which defines art as the fine arts and relegates other works to the category of craft. Objects of use are rarely included-dismissed as insignificant, merely functional, lacking in imagination, or even primitive. The result has been a fragmented, hierarchical field in which broad comparative strokes have proved difficult to sustain, and longstanding biases have become standardized. This book challenges the hierarchy of genres and materials, as well as the concept of singular artistic centers with linear chronological narratives. Author Ned Cooke is one of the leading scholars working on the history of material culture within art history. Taking a thematic approach to interconnected histories and questioning the accepted notion of art as a category that privileges certain modes of production, Cooke focuses on quotidian materials-including fiber, clay, wood, and metal-and the so-called decorative arts as embodiments of a more inclusive human history of visual culture. Through an exploration of the conception, production, circulation, and ongoing social life of objects over a broad period of time and geography, he develops a more global and complex view of culture in which initiative, emulation, adaptation, and innovation flow in multiple directions, and objects operate locally, regionally, and globally, often at the same time. Eschewing traditional binaries of east versus west and fine art versus decorative art, this book offers a radical, non-normative guide to thinking about a connected world art history-- |
| global objects toward a connected art history: Material Selves Alex Burchmore, 2024-10-31 What do Persian robes of honour, 20th-century still-life painting, fur garments, and 18th-century porcelain all have in common? Prized, possessed and modelled, they highlight the deep connections we share with cultural objects. Establishing new connections between people and things via artistic media and material culture, this highly interdisciplinary volume brings together both established and emerging scholars in the fields of art history, material culture, museum and heritage studies and literary studies to investigate the intersection of the personal with the material. Raising vital questions of cultural identity, belonging and selfhood, Material Selves is the first book of its kind to consider the relationship between people and things across transcultural and transhistorical contexts. It employs innovative methodologies across ten chapters and critically expands on current models for understanding the dynamic relationship between people and things by tracing the central role objects have played in the construction, creation and performance of identity throughout history. Structured around four key sections exploring biography and narrative; adornment and ornament; reclamation and intervention; and subjects and objects, the volume presents a global selection of case studies that explore, amongst other things, Margaret Olley's enduring fame, the significance of the Khil'a in Safavid Persia and early modern Europe, and 17th-century French painter Charles LeBrun's royal portraiture. Fusing these with contemporary theories of identity, the contributors provide analyses informed by posthumanism, the environmental humanities, race and gender. At the same time, they confront vital questions of identity, agency, and materiality, and highlight the way in which we use objects to tell stories, construct myths and make sense of our place in the world. In doing so, the book illuminates a wide range of cultural and chronological settings whilst giving close attention to the mobility of people and things between, across, and through time and place. |
| global objects toward a connected art history: The Gift Ana Lucia Araujo, 2023-11-16 Reveals how gifts of prestige shaped interactions between Africans and Europeans during the era of the Atlantic slave trade and colonialism. |
| global objects toward a connected art history: Materials of Culture Liedeke Plate, László Munteán, Airin Farahmand, 2023-06-30 While the so-called material turn in the humanities and the social sciences has inspired a vibrant discourse on objects, things, and the concept of materiality in general, less attention has been paid to materials, particularly in cultural studies scholarship. With each of its chapters taking a particular material as its point of departure, this volume offers a palette of fresh approaches to materials within the realm of cultural studies. The contributors call for a materials-based perspective on culture, which has become all the more pertinent in times of climate change, energy crisis, conflict, migration, and the lingering coronavirus pandemic. |
| global objects toward a connected art history: Ten Thousand Things Lothar Ledderose, 2023-10-17 An incomparable look at how Chinese artists have used mass production to assemble exquisite objects from standardized parts Chinese workers in the third century BC created seven thousand life-sized terracotta soldiers to guard the tomb of the First Emperor. In the eleventh century AD, Chinese builders constructed a pagoda from as many as thirty thousand separately carved wooden pieces. As these examples show, throughout history, Chinese artisans have produced works of art in astonishing quantities, and have done so without sacrificing quality, affordability, or speed of manufacture. In this book, Lothar Ledderose takes us on a remarkable tour of Chinese art and culture to explain how artists used complex systems of mass production to assemble extraordinary objects from standardized parts or modules. He reveals how these systems have deep roots in Chinese thought and reflect characteristically Chinese modes of social organization. Combining invaluable aesthetic and cultural insights with a rich variety of illustrations, Ten Thousand Things make a profound statement about Chinese art and society. |
| global objects toward a connected art history: The Global Lives of Things Anne Gerritsen, Giorgio Riello, 2015-11-19 The Global Lives of Things considers the ways in which ‘things’, ranging from commodities to works of art and precious materials, participated in the shaping of global connections in the period 1400-1800. By focusing on the material exchange between Asia, Europe, the Americas and Australia, this volume traces the movements of objects through human networks of commerce, colonialism and consumption. It argues that material objects mediated between the forces of global economic exchange and the constantly changing identities of individuals, as they were drawn into global circuits. It proposes a reconceptualization of early modern global history in the light of its material culture by asking the question: what can we learn about the early modern world by studying its objects? This exciting new collection draws together the latest scholarship in the study of material culture and offers students a critique and explanation of the notion of commodity and a reinterpretation of the meaning of exchange. It engages with the concepts of ‘proto-globalization’, ‘the first global age’ and ‘commodities/consumption’. Divided into three parts, the volume considers in Part One, Objects of Global Knowledge, in Part Two, Objects of Global Connections, and finally, in Part Three, Objects of Global Consumption. The collection concludes with afterwords from three of the leading historians in the field, Maxine Berg, Suraiya Faroqhi and Paula Findlen, who offer their critical view of the methodologies and themes considered in the book and place its arguments within the wider field of scholarship. Extensively illustrated, and with chapters examining case studies from Northern Europe to China and Australia, this book will be essential reading for students of global history. |
| global objects toward a connected art history: Toward a Global Middle Ages Bryan C. Keene, 2019-09-03 This important and overdue book examines illuminated manuscripts and other book arts of the Global Middle Ages. Illuminated manuscripts and illustrated or decorated books—like today’s museums—preserve a rich array of information about how premodern peoples conceived of and perceived the world, its many cultures, and everyone’s place in it. Often a Eurocentric field of study, manuscripts are prisms through which we can glimpse the interconnected global history of humanity. Toward a Global Middle Ages is the first publication to examine decorated books produced across the globe during the period traditionally known as medieval. Through essays and case studies, the volume’s multidisciplinary contributors expand the historiography, chronology, and geography of manuscript studies to embrace a diversity of objects, individuals, narratives, and materials from Africa, Asia, Australasia, and the Americas—an approach that both engages with and contributes to the emerging field of scholarly inquiry known as the Global Middle Ages. Featuring more than 160 color illustrations, this wide-ranging and provocative collection is intended for all who are interested in engaging in a dialogue about how books and other textual objects contributed to world-making strategies from about 400 to 1600. |
| global objects toward a connected art history: EurAsian Matters Anna Grasskamp, Monica Juneja, 2018-05-03 The volume examines the mutually constitutive relationship between the materiality of objects and their aesthetic meanings. Its approach connects material culture with art history, curation, technologies and practices of making. A central dimension of the case studies collected here is the mobility of objects between Europe and China and the transformations that unfold as a result of their transcultural lives. Many of the objects studied here are relatively unknown or understudied. The stories they recount suggest new ways of thinking about space, cultural geographies and the complex and often contradictory association of power and culture. These studies of transcultural objects can suggest pathways for museum experts by uncovering the multi-layered identities and temporalities of objects that can no longer be labelled as located in single regions. It is also addressed to students of art history, of European and Chinese studies and scholars of consumer culture. « This eagerly awaited volume offers deep and extensive insights into the fast-growing field of material culture studies. Its fresh approach to Eurasian objects and materialities will serve as useful reading for all scholars interested in transcultural and global studies. A very helpful introductory essay. » Sabine du Crest, University of Bordeaux Montaigne, Former Fellow, The Harvard University Center for Italian Renaissance Studies. |
| global objects toward a connected art history: Inessential Colors Basile Baudez, 2021-12-21 The first comprehensive account of how and why architects learned to communicate through color Architectural drawings of the Italian Renaissance were largely devoid of color, but from the seventeenth century through the nineteenth, polychromy in architectural representation grew and flourished. Basile Baudez argues that colors appeared on paper when architects adapted the pictorial tools of imitation, cartographers' natural signs, military engineers' conventions, and, finally, painters' affective goals in an attempt to communicate with a broad public. Inessential Colors traces the use of color in European architectural drawings and prints, revealing how this phenomenon reflected the professional anxieties of an emerging professional practice that was simultaneously art and science. Traversing national borders, the book addresses color as a key player in the long history of rivalry and exchange between European traditions in architectural representation and practice. Featuring a wealth of previously unpublished drawings, Inessential Colors challenges the long-standing misreading of architectural drawings as illustrations rather than representations, pointing instead to their inherent qualities as independent objects whose beauty paved the way for the visual system architects use today. |
| global objects toward a connected art history: Art of the Non-Western World Nancy L. Kelker, 2020 Art of the Non-Western World: Asia, Africa, Oceania, and the Americas gives students the tools to better understand and appreciate the arts in a global world. It offers an in-depth, contextual exploration of the art from the larger world beyond the European tradition, including painting, sculpture, pottery, graphic arts, and architecture of Asia, the Americas, Africa, Australia, and the Pacific Islands, from the Neolithic to the Contemporary. All new print and electronic versions of Art of the Non-Western World come with access to a full suite of engaging digital learning tools. |
| global objects toward a connected art history: Made in the Americas Dennis Andrew Carr, Dennis Carr, Gauvin A. Bailey, Timothy Brook, Mitchell Codding, Karina Corrigan, Donna Pierce, 2015 The spectacular arts of the first global age fostered by a rich cultural interchange between Asia and the Americas Made in the Americas reveals the overlooked history of Asia's profound influence on the arts of the colonial Americas. Beginning in the 16th century, European outposts in the New World, especially those in New Spain, became a major nexus of the Asian export trade. Craftsmen from Canada to Peru, inspired by the sophisticated designs and advanced techniques of these imported goods, combined Asian styles with local traditions to produce unparalleled furniture, silverwork, textiles, ceramics, lacquer, painting and architectural ornaments. Among the exquisite objects featured in this book, from across the hemisphere and spanning the 17th to the early 19th centuries, are folding screens made in Mexico in imitation of imported Japanese and Chinese screens; blue-and-white talavera ceramics copied from Chinese porcelains; luxuriously woven textiles, made to replicate fine silks and cottons from China and India; devotional statues that adapt Buddhist gods into Christian saints; and japanned furniture produced in Boston that simulates Asian lacquer finishes. The stories told by the objects gathered in Made in the Americas bring to life the rich cultural interchange and the spectacular arts of the first global age. |
| global objects toward a connected art history: Circulations in the Global History of Art Thomas DaCosta Kaufmann, Catherine Dossin, Béatrice Joyeux-Prunel, 2016-03-03 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. |
| global objects toward a connected art history: The Nomadic Object Christine Göttler, Mia Mochizuki, 2017-11-06 At the turn of the sixteenth century, the notion of world was dramatically being reshaped, leaving no aspect of human experience untouched. The Nomadic Object: The Challenge of World for Early Modern Religious Art examines how sacred art and artefacts responded to the demands of a world stage in the age of reform. Essays by leading scholars explore how religious objects resulting from cross-cultural contact defied national and confessional categories and were re-contextualised in a global framework via their collection, exchange, production, management, and circulation. In dialogue with current discourses, papers address issues of idolatry, translation, materiality, value, and the agency of networks. The Nomadic Object demonstrates the significance of religious systems, from overseas logistics to philosophical underpinnings, for a global art history. Contributors are: Akira Akiyama, James Clifton, Jeffrey L. Collins, Ralph Dekoninck, Dagmar Eichberger, Beate Fricke, Christine Göttler, Christiane Hille, Margit Kern, Dipti Khera, Yoriko Kobayashi-Sato, Urte Krass, Evonne Levy, Meredith Martin, Walter S. Melion, Mia M. Mochizuki, Jeanette Favrot Peterson, Rose Marie San Juan, Denise-Marie Teece, Tristan Weddigen, and Ines G. Županov. |
| global objects toward a connected art history: Kingly Crafts Yung-ti Li, 2022-12-20 The site of Anyang, the last capital of the Shang dynasty, dated to around 1200 to 1000 BCE, is one of the most important sources of knowledge about craft production in Bronze Age China. Excavations and research of the settlement over the past ninety years demonstrate both the advanced level of Shang craft workers and the scale and capacity of the craft industries of the time. However, materials unearthed in Anyang by different expeditions have since been stored separately in China and Taiwan, making a thorough study of this important aspect of life in Shang China challenging. Despite efforts to integrate the data based on published material, the physical evidence rarely has been considered as a single group. Through a systematic analysis of the archaeological materials available in both China and Taiwan, Yung-ti Li provides a detailed picture of craft production in Anyang and paves the way for a new understanding of how the Shang capital functioned as a metropolis. Focusing on craft-producing activities, including bronze casting, bone working, shell and marble inlay working, lithic working, and pottery production, Kingly Crafts examines the material remains, the technology, and the production organization of the craft industries. Although the level of Shang craftsmanship can be seen in the finished products, Li demonstrates that it is necessary to study workshop remains and their archaeological context to reconstruct the social and political contexts of craft production. Offering a comprehensive investigation of these remains, Kingly Crafts sheds new light on the relationships between craft industries and political authority in the late Shang period. |
| global objects toward a connected art history: Picture Ecology Alan C. Braddock, 2021-10-26 Seeking a broad reexamination of visual culture through the lenses of ecocriticism, environmental justice, and animal studies, this compendium offers a diverse range of art-historical criticism formulated within an ecological context. Picture Ecology brings together scholars whose contributions extend chronologically and geographically from 11th-century Chinese painting to contemporary photography of California wildfires. The book's 17 interdisciplinary essays provide a dynamic, cross-cultural approach to an increasingly vital area of study, emphasizing the environmental dimensions inherent in the content and materials of aesthetic objects. Picture Ecology provides valuable new approaches for considering works of art, in ways that are timely, intellectually stimulating, and universally significant. |
| global objects toward a connected art history: Handbook of Art and Global Migration Burcu Dogramaci, Birgit Mersmann, 2019-07-08 Wie lässt sich eine Kunstgeschichte denken, die prozessuale, performative und transkulturelle Wanderungsbewegungen ins Zentrum ihrer theoretischen und methodischen Analysen rückt? Mit Beiträgen international ausgewiesener Experten gibt das Handbuch erstmals Antworten darauf, welche Konsequenzen das Zusammenwirken von Migration und Globalisierung für die kunstwissenschaftliche Forschung, die kuratorische Praxis sowie die künstlerische Produktion und Theorie hat. Ziel der vielstimmigen Anthologie ist es, einen interdisziplinären Diskurs zum „migratory turn in der Kunstgeschichte zu eröffnen. |
| global objects toward a connected art history: Into the White Christopher P. Heuer, 2019-05-24 European narratives of the Atlantic New World tell stories of people and things: strange flora, wondrous animals, and sun-drenched populations for Europeans to mythologize or exploit. Yet between 1500 and 1700 one region upended all of these conventions in travel writing, science, and, most unexpectedly, art: the Arctic. Icy, unpopulated, visually and temporally “abstract,” the far North – a different kind of terra incognita for the Renaissance imagination – offered more than new stuff to be mapped, plundered, or even seen. Neither a continent, an ocean, nor a meteorological circumstance, the Arctic forced visitors from England, the Netherlands, Germany, and Italy, to grapple with what we would now call a “nonsite,” spurring dozens of previously unknown works, objects, and texts – and this all in an intellectual and political milieu crackling with Reformation debates over art’s very legitimacy. Into the White uses five case studies to probe how the early modern Arctic (as site, myth, and ecology) affected contemporary debates of perception and matter, of representation, discovery, and the time of the earth – long before the nineteenth century romanticized the polar landscape. In the far North, this book contends, the Renaissance exotic became something far stranger than the marvelous or the curious, something darkly material and unmasterable, something beyond the idea of image itself. |
| global objects toward a connected art history: Abstract Art Pepe Karmel, 2020-11-17 A leading authority on the subject presents a radically new approach to the understanding of abstract art, in this richly illustrated and persuasive history. In his fresh take on abstract art, noted art historian Pepe Karmel chronicles the movement from a global perspective, while embedding abstraction in a recognizable reality. Moving beyond the canonical terrain of abstract art, the author demonstrates how artists from around the world have used abstract imagery to express social, cultural, and spiritual experience. Karmel builds this fresh approach to abstract art around five inclusive themes: body, landscape, cosmology, architecture, and man-made signs and patterns. In the process, this history develops a series of narratives that go far beyond the established figures and movements traditionally associated with abstract art. Each narrative is complemented by a number of featured abstract works, arranged in thought-provoking pairings with accompanying extended captions that provide an in-depth analysis. This wide-ranging examination incorporates work from Asia, Australia, Africa, and South America, as well as Europe and North America, through artists ranging from Wu Guanzhong, Joan Miró, Jackson Pollock, to Hilma af Klint, and Odili Donald Odita. Breaking new ground, Karmel has forged a new history of this key art movement. |
| global objects toward a connected art history: A History of Religion in 51⁄2 Objects S. Brent Plate, 2015-03-10 A leading scholar explores the importance of physical objects and sensory experience in the practice of religion. A History of Religion in 5½ Objects takes a fresh and much-needed approach to the study of that contentious yet vital area of human culture: religion. Arguing that religion must be understood in the first instance as deriving from rudimentary human experiences, from lived, embodied practices, S. Brent Plate asks us to put aside, for the moment, questions of belief and abstract ideas. Instead, beginning with the desirous, incomplete human body, he asks us to focus on five ordinary objects—stones, incense, drums, crosses, and bread—with which we connect in our pursuit of religious meaning and fulfillment. As Plate considers each of these objects, he explores how the world’s religious traditions have put each of them to different uses throughout the millennia. Religion, it turns out, has as much to do with our bodies as our beliefs. Maybe even more. |
| global objects toward a connected art history: What Is Global History? Sebastian Conrad, 2017-08-29 The first comprehensive overview of the innovative new discipline of global history Until very recently, historians have looked at the past with the tools of the nineteenth century. But globalization has fundamentally altered our ways of knowing, and it is no longer possible to study nations in isolation or to understand world history as emanating from the West. This book reveals why the discipline of global history has emerged as the most dynamic and innovative field in history—one that takes the connectedness of the world as its point of departure, and that poses a fundamental challenge to the premises and methods of history as we know it. What Is Global History? provides a comprehensive overview of this exciting new approach to history. The book addresses some of the biggest questions the discipline will face in the twenty-first century: How does global history differ from other interpretations of world history? How do we write a global history that is not Eurocentric yet does not fall into the trap of creating new centrisms? How can historians compare different societies and establish compatibility across space? What are the politics of global history? This in-depth and accessible book also explores the limits of the new paradigm and even its dangers, the question of whom global history should be written for, and much more. Written by a leading expert in the field, What Is Global History? shows how, by understanding the world's past as an integrated whole, historians can remap the terrain of their discipline for our globalized present. |
| global objects toward a connected art history: Culture in the Marketplace Molly H. Mullin, 2001-03-20 DIVThe creation of the Indian art market in the Southwest in the 20s and 30s./div |
| global objects toward a connected art history: Conchophilia Marisa Anne Bass, Anne Goldgar, Hanneke Grootenboer, Stephanie S. Dickey, Claudia Swan, Anna Grasskamp, Róisín Watson, 2021-08-17 A history of shells in early modern Europe, and their rich cultural and artistic significance-- |
| global objects toward a connected art history: All About Process Kim Grant, 2017-02-28 In recent years, many prominent and successful artists have claimed that their primary concern is not the artwork they produce but the artistic process itself. In this volume, Kim Grant analyzes this idea and traces its historical roots, showing how changing concepts of artistic process have played a dominant role in the development of modern and contemporary art. This astute account of the ways in which process has been understood and addressed examines canonical artists such as Monet, Cézanne, Matisse, and De Kooning, as well as philosophers and art theorists such as Henri Focillon, R. G. Collingwood, and John Dewey. Placing “process art” within a larger historical context, Grant looks at the changing relations of the artist’s labor to traditional craftsmanship and industrial production, the status of art as a commodity, the increasing importance of the body and materiality in art making, and the nature and significance of the artist’s role in modern society. In doing so, she shows how process is an intrinsic part of aesthetic theory that connects to important contemporary debates about work, craft, and labor. Comprehensive and insightful, this synthetic study of process in modern and contemporary art reveals how artists’ explicit engagement with the concept fits into a broader narrative of the significance of art in the industrial and postindustrial world. |
| global objects toward a connected art history: Do Museums Still Need Objects? Steven Conn, 2010 In this broadly conceived study Steven Conn examines the development of American museums across the twentieth century with a historian's attention and a critic's eye. He focuses on an array of museum types and asks illuminating questions about the relationship between museums and American cultural life. |
| global objects toward a connected art history: Enchantments Marci Kwon, 2021-04-06 This book uncovers a largely overlooked strand of American modernism in Cornell's work that engaged with current issues through the metaphysical aspects of vernacular objects and experiences-- |
| global objects toward a connected art history: Artistic Creation Jeff Mitscherling, Paul Fairfield, 2019-04-29 Artistic creation has proven remarkably resistant to philosophical analysis. Artists have long struggled to explain how they do what they do, and philosophers have struggled along with them. This study does not attempt to offer a comprehensive account of all creativity or all art. Instead it tries to identify an essential feature of an activity that has been cloaked in mystery for as long as history records. Jeff Mitscherling and Paul Fairfield argue that the process by which art is created has a good deal in common with the experience of the audience of a work, and that both experiences may be described phenomenologically in ways that show surprising affinities with what artists themselves often report. |
| global objects toward a connected art history: Eighteenth-Century Art Worlds Michael Yonan, Stacey Sloboda, 2019-02-21 While the connected, international character of today's art world is well known, the eighteenth century too had a global art world. Eighteenth-Century Art Worlds is the first book to attempt a map of the global art world of the eighteenth century. Fourteen essays from a distinguished group of scholars explore both cross-cultural connections and local specificities of art production and consumption in Africa, the Americas, Asia, and Europe. The result is an account of a series of interconnected and asymmetrical art worlds that were well developed in the eighteenth century. Capturing the full material diversity of eighteenth-century art, this book considers painting and sculpture alongside far more numerous prints and decorative objects. Analyzing the role of place in the history of eighteenth-century art, it bridges the disciplines of art history and cultural geography, and draws attention away from any one place as a privileged art-historical site, while highlighting places such as Manila, Beijing, Mexico City, and London as significant points on globalized map of the eighteenth-century art world. Eighteenth-Century Art Worlds combines a broad global perspective on the history of art with careful attention to how global artistic concerns intersect with local ones, offering a framework for future studies in global art history. |
| global objects toward a connected art history: The Surviving Image Georges Didi-Huberman, 2018-01-09 Originally published in French in 2002, examines the life and work of art historian Aby Warburg. Demonstrates the complexity and importance of Warburg's ideas, addressing broader questions regarding art historians' conceptions of time, memory, symbols, and the relationship between art and the rational and irrational forces of the psyche. |
| global objects toward a connected art history: Africa’s Struggle for Its Art Bénédicte Savoy, 2022-04-05 A major new history of how, between 1965 and 1985, African nations sought the restitution of works of art stolen during the colonial period, written by the most important and influential figure in the field-- |
| global objects toward a connected art history: The Transformation of the World Jürgen Osterhammel, 2015-09-15 A panoramic global history of the nineteenth century A monumental history of the nineteenth century, The Transformation of the World offers a panoramic and multifaceted portrait of a world in transition. Jürgen Osterhammel, an eminent scholar who has been called the Braudel of the nineteenth century, moves beyond conventional Eurocentric and chronological accounts of the era, presenting instead a truly global history of breathtaking scope and towering erudition. He examines the powerful and complex forces that drove global change during the long nineteenth century, taking readers from New York to New Delhi, from the Latin American revolutions to the Taiping Rebellion, from the perils and promise of Europe's transatlantic labor markets to the hardships endured by nomadic, tribal peoples across the planet. Osterhammel describes a world increasingly networked by the telegraph, the steamship, and the railways. He explores the changing relationship between human beings and nature, looks at the importance of cities, explains the role slavery and its abolition played in the emergence of new nations, challenges the widely held belief that the nineteenth century witnessed the triumph of the nation-state, and much more. This is the highly anticipated English edition of the spectacularly successful and critically acclaimed German book, which is also being translated into Chinese, Polish, Russian, and French. Indispensable for any historian, The Transformation of the World sheds important new light on this momentous epoch, showing how the nineteenth century paved the way for the global catastrophes of the twentieth century, yet how it also gave rise to pacifism, liberalism, the trade union, and a host of other crucial developments. |
| global objects toward a connected art history: Introduction to Art: Design, Context, and Meaning Pamela Sachant, Peggy Blood, Jeffery LeMieux, Rita Tekippe, 2023-11-27 Introduction to Art: Design, Context, and Meaning offers a deep insight and comprehension of the world of Art. Contents: What is Art? The Structure of Art Significance of Materials Used in Art Describing Art - Formal Analysis, Types, and Styles of Art Meaning in Art - Socio-Cultural Contexts, Symbolism, and Iconography Connecting Art to Our Lives Form in Architecture Art and Identity Art and Power Art and Ritual Life - Symbolism of Space and Ritual Objects, Mortality, and Immortality Art and Ethics |
| global objects toward a connected art history: Global Icons Bishnupriya Ghosh, 2011-08-24 Global Icons considers how highly visible public figures such as Mother Theresa become global icons capable of galvanizing intense affect and sometimes even catalyzing social change. |
| global objects toward a connected art history: Beyond Boundaries Susan E. Alcock, Mariana Egri, James F. D. Frakes, 2016-05-01 The Roman Empire had a rich and multifaceted visual culture, which was often variegated due to the sprawling geography of its provinces. In this remarkable work of scholarship, a group of international scholars has come together to find alternative ways to discuss the nature and development of the art and archaeology of the Roman provinces. The result is a collection of nineteen compelling essays—accompanied by carefully curated visual documentation, seven detailed maps, and an extensive bibliography—organized around the four major themes of provincial contexts, tradition and innovation, networks and movements, and local accents in an imperial context. Easy assumptions about provincial dependence on metropolitian models give way to more complicated stories. Similarities and divergences in local and regional responses to Rome appear, but not always in predictable places and in far from predictable patterns. The authors dismiss entrenched barriers between art and archaeology, center and provinces, even “good art” and “bad art,” extending their observations well beyond the empire’s boundaries, and examining phenomena, sites, and monuments not often found in books about Roman art history or archaeology. The book thus functions to encourage continued critical engagement with how scholars study the material past of the Roman Empire and, indeed, of imperial systems in general. |
| global objects toward a connected art history: Global Health and International Relations Colin McInnes, Kelley Lee, 2013-05-02 The long separation of health and International Relations, as distinct academic fields and policy arenas, has now dramatically changed. Health, concerned with the body, mind and spirit, has traditionally focused on disease and infirmity, whilst International Relations has been dominated by concerns of war, peace and security. Since the 1990s, however, the two fields have increasingly overlapped. How can we explain this shift and what are the implications for the future development of both fields? Colin McInnes and Kelley Lee examine four key intersections between health and International Relations today - foreign policy and health diplomacy, health and the global political economy, global health governance and global health security. The explosion of interest in these subjects has, in large part, been due to real world concerns - disease outbreaks, antibiotic resistance, counterfeit drugs and other risks to human health amid the spread of globalisation. Yet the authors contend that it is also important to understand how global health has been socially constructed, shaped in theory and practice by particular interests and normative frameworks. This groundbreaking book encourages readers to step back from problem-solving to ask how global health is being problematized in the first place, why certain agendas and issue areas are prioritised, and what determines the potential solutions put forth to address them? The palpable struggle to better understand the health risks facing a globalized world, and to strengthen collective action to deal with them effectively, begins - they argue - with a more reflexive and critical approach to this rapidly emerging subject. |
| global objects toward a connected art history: Waste and Want Susan Strasser, 2000-09 Originally published: New York: Metropolitan Books, 1999. |
| global objects toward a connected art history: Art and Objects Graham Harman, 2019-12-04 In this book, the founder of object-oriented ontology develops his view that aesthetics is the central discipline of philosophy. Whereas science must attempt to grasp an object in terms of its observable qualities, philosophy and art cannot proceed in this way because they don't have direct access to their objects. Hence philosophy shares the same fate as art in being compelled to communicate indirectly, allusively, or elliptically, rather than in the clear propositional terms that are often taken – wrongly – to be the sole stuff of genuine philosophy. Conceiving of philosophy and art in this way allows us to reread key debates in aesthetic theory and to view art history in a different way. The formalist criticism of Greenberg and Fried is rejected for its refusal to embrace the innate theatricality and deep multiplicity of every artwork. This has consequences for art criticism, making pictorial content more important than formalism thinks but less entwined with the social sphere than anti-formalism holds. It has consequences for art history too, as the surrealists, David, and Poussin, among others, gain in importance. The close link between aesthetics and ontology also invites a new periodization of modern philosophy as a whole, and the habitual turn away from Kant’s thing-in-itself towards an increase in philosophical immanence is shown to be a false dawn. This major work will be of great interest to students and scholars of philosophy, aesthetics, art history and cultural theory. |
| global objects toward a connected art history: The Aesthetic Animal Henrik Hogh-Olesen, 2018-08-17 The Aesthetic Animal answers the ultimate questions of why we adorn ourselves, embellish our things and surroundings, and produce art, music, song dance, and fiction. Humans are aesthetic animals that spend vast amounts of time and resources on seemingly useless aesthetic activities. However, nature would not allow a species to waste precious time and effort on activities completely unrelated to survival, reproduction, and the well-being of that species. Consequently, the aesthetic impulse must have some important biological functions. A number of observations indicate that the aesthetic impulse is an inherent part of human nature, and therefore a primary impulse in its own right with several important functions: The aesthetic impulse may guide us toward what is biologically good for us, and help us choose the right fitness enhancing items in our surroundings. It is a valid individual fitness indicator as well as a unifying social group marker, and aesthetically skilled individuals get more mating possibilities, higher status and more collaborative offers. The book is written in a lively and entertaining tone, with beautiful color illustrations. It covers a wide field of aesthetic behaviors from cave art, graffiti, tattoos, and piercings over fashion, design, music, song, and dance. It presents an original and comprehensive synthesis of the empirical field, synthesizing data from archeology, cave art, anthropology, biology, ethology, behavioral- and evolutionary psychology and neuro-aesthetics. It is a must-read for people interested in biology, psychology, anthropology, architecture, design, fashion, body culture, art, and the evolution of aesthetics. |
| global objects toward a connected art history: Nature's Palette Patrick Baty, 2021-05-18 This fully realized colour catalogue includes elegant contemporary illustrations of every animal, plant or mineral cited in Syme's edition of “Werner's nomenclature of colours” |
| global objects toward a connected art history: Histories of Ornament Gülru Necipoğlu, Alina Payne, 2016-03-08 This lavishly illustrated volume is the first major global history of ornament from the Middle Ages to today. Crossing historical and geographical boundaries in unprecedented ways and considering the role of ornament in both art and architecture, Histories of Ornament offers a nuanced examination that integrates medieval, Renaissance, baroque, and modern Euroamerican traditions with their Islamic, Indian, Chinese, and Mesoamerican counterparts. At a time when ornament has re-emerged in architectural practice and is a topic of growing interest to art and architectural historians, the book reveals how the long history of ornament illuminates its global resurgence today. Organized by thematic sections on the significance, influence, and role of ornament, the book addresses ornament's current revival in architecture, its historiography and theories, its transcontinental mobility in medieval and early modern Europe and the Middle East, and its place in the context of industrialization and modernism. Throughout, Histories of Ornament emphasizes the portability and politics of ornament, figuration versus abstraction, cross-cultural dialogues, and the constant negotiation of local and global traditions. Featuring original essays by more than two dozen scholars from around the world, this authoritative and wide-ranging book provides an indispensable reference on the histories of ornament in a global context. Contributors include: Michele Bacci (Fribourg University); Anna Contadini (University of London); Thomas B. F. Cummins (Harvard); Chanchal Dadlani (Wake Forest); Daniela del Pesco (Universita degli Studi Roma Tre); Vittoria Di Palma (USC); Anne Dunlop (University of Melbourne); Marzia Faietti (University of Bologna); María Judith Feliciano (independent scholar); Finbarr Barry Flood (NYU); Jonathan Hay (NYU); Christopher P. Heuer (Clark Art); Rémi Labrusse (Université Paris Ouest Nanterre la Défense); Gülru Necipoğlu (Harvard); Marco Rosario Nobile (University of Palermo); Oya Pancaroğlu (Bosphorus University); Spyros Papapetros (Princeton); Alina Payne (Harvard); Antoine Picon (Harvard); David Pullins (Harvard); Jennifer L. Roberts (Harvard); David J. Roxburgh (Harvard); Hashim Sarkis (MIT); Robin Schuldenfrei (Courtauld); Avinoam Shalem (Columbia); and Gerhard Wolf (KHI, Florence). |
Global Objects Toward A Connected Art History .pdf
Global objects toward a connected art history: Exploring the interconnected narratives of art across cultures and continents, revealing the richness and diversity of artistic expression throughout history. This exploration delves into how global objects can illuminate the shared human experience
Global Objects Toward A Connected Art History
works as fine art while relegating others to the category of craft Global Objects points the way to an interconnected history of art examining a broad array of functional aesthetic objects that …
Global Objects: Toward a Connected Art History Edward S
by Edward S. Cooke Jr. in Global Objects: Toward a Connected Art History, “No matter how important easel painting is in the late West, it is uncommon in world history. It would be more …
Global Objects Toward A Connected Art History - portal.ajw.com
Global Objects points the way to an interconnected history of art, examining a broad array of functional aesthetic objects that transcend geographic and temporal boundaries and challenging …
Toward a Connected Art History - De Gruyter
Toward a Connected Art History Global Objects Princeton University Press Princeton and Oxford ... of the History of Art Publications Fund, Yale University ... Printed in Canada 10 9 8 7 6 5 4 3 2 1 …
Global Objects Toward A Connected Art History - portal.ajw.com
Within the pages of "Global Objects Toward A Connected Art History," a mesmerizing literary creation penned by way of a celebrated wordsmith, readers attempt an enlightening odyssey, …
Art History as a Global Discipline - James Elkins
Art History as a Global Discipline James Elkins What is the shape, or what are the shapes, of art history across the world? Is it becoming global — that is, does it have a recogniz-able form …
Dialogic art history - Journal of Art Historiography
The four volumes reviewed here – Vessels: The Object as Container (2019), Conditions of Visibility (2019), Figurines: Figuration and the Sense of Scale (2020) and Landscape and Space: …
ART HISTORY IN A GLOBAL CONTEXT - khist.uzh.ch
How do global perspectives influence art historical practices and institutions, such as museums and the art mar-ket? How can art history rethink traditional categories such as “high” and “low”, …
Global Objects Toward A Connected Art History (book)
Global Objects Toward A Connected Art History: Global Objects Edward S. Cooke,2022-09-13 A bold reorientation of art history that bridges the divide between fine art and material culture …
A Curious Affair – Toward an Understanding of Art and Globalization
25 Aug 2023 · How does an art object get from one place to another, and why does it move? How does the maker of an art object envision the viewer or customer? If the maker is emulating a …
Approaches and challenges to a global art history
For those interested in global art history, eager to expand their methodological approaches and to engage in a lively exchange of ideas Circulations in the Global History of Art is a must read. …
Edward S. Cooke, Jr., Global Objects. Toward a Connected Art …
Toward a Connected Art History, Cooke inspects art objects from diverse geographies anachronistically to reveal how inter actions in human history materialize in object production.
The “Material Turn” in World and Global History
At a basic level, world and global historians’ interest in things is the result of the fact “ ” that material artefacts whether commodities, luxuries, scientific tools, — ethnographic specimens or …
Art History and the Global Challenge: A Critical Perspective
This involves incorporating the concepts of 'circulation,' 'connection,' and 'network,' as well as the transcultural and transnational perspective as an essential part of the new epistemic order. It …
Global Objects Toward A Connected Art History - portal.ajw.com
Global Objects points the way to an interconnected history of art, examining a broad array of functional aesthetic objects that transcend geographic and temporal boundaries and challenging …
Shifting Perspectives: Asian and European Art in a Global Context
8 Dec 2023 · Cooke, Edward S. Global Objects: Towards a Connected Art History. Princeton, NJ: Princeton University Press, 2022. Eisenman, Stephen F. “Art History, Time, and the …
Whither Art History: Whither Art History in a Globalizing World
It is difficult to talk about the now of art history without allud-ing to the globalizing world. The art history that emerged out of European nationalism in the nineteenth century has lost its original …
Patterns of Artistic Hybridization in the Early ... - JSTOR
"hybrid" works of art, that is, objects that possess elements from two or more distinct artistic cultures, combined in an original manner. These hybrid works of art have caught the attention of …
Understanding Art Collecting and Cultural Heritage PROF. MARK …
26 Aug 2024 · touches upon the major movements and moments in the history of art, this course addresses broader concerns, such as: What is art? What function does it have? Why does it …
Global Objects Toward A Connected Art History .pdf
Global objects toward a connected art history: Exploring the interconnected …
Global Objects Toward A Connected Art History
works as fine art while relegating others to the category of craft Global …
Global Objects: Toward a Connected Art History Edwa…
by Edward S. Cooke Jr. in Global Objects: Toward a Connected Art …
Global Objects Toward A Connected Art History - port…
Global Objects points the way to an interconnected history of art, …
Toward a Connected Art History - De Gruyter
Toward a Connected Art History Global Objects Princeton University Press …
