Synopses & Reviews
With contributions by Emily Apter, George Baker, Malcolm Baker, John Brewer, Martha Buskirk, Margaret Iversen, Ewa Lajer-Burcharth, Karen Lang, Mark A. Meadow, Helen Molesworth, Marcia Pointon, Christian Scheidemann, Edward J. Sullivan, and Martha Wardand#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160;and#160; This latest volume in the critically acclaimed
Clark Studies in the Visual Arts series examines the force of art historyand#8217;s attraction to particular objects and the corresponding rhythms of attachment and detachment that animate the discipline. In a series of thought-provoking essays, distinguished curators, conservators, and scholars from various disciplines within the humanities consider how artists, the public, and art historians have encountered objects in periods ranging from the Renaissance to Surrealism and contemporary art. They grapple with the questions of how art and art history are shaped by the confrontation with the objectand#151;painted, drawn, and sculpted; lost, found, and ready-made; exhibited and conserved; made and unmade.
Art historian Stephen Melville provides the introduction to the volume. Other contributors include Emily Apter, George Baker, Malcolm Baker, John Brewer, Martha Buskirk, Margaret Iversen, Ewa Lajer-Burcharth, Karen Lang, Mark Meadow, Helen Molesworth, Marcia Pointon, Christian Scheidemann, Edward J. Sullivan, and Martha Ward.
Synopsis
In the 21st century, the experience of leaving home and crossing national boundaries belongs to ever-growing numbers of persons. Whether escaping persecution or seeking work, fleeing hopelessness or striving for creative opportunities, each migrantlike all others throughout history who sought a distant new lifesteps into a foreign world where much is strange and alien. This timely book explores the increasing emergence of the theme of migration as a dominant subject in the world of art, as well as the ways in which the mobilities of our globalized world have radically reshaped art's conditions of production, reception, and display.
The title of the volume is taken from an essay by Ranajit Guha in which he considers the conditions of alienation and exclusion that are so inextricably linked to the experience of the migrant. In a collection of thought-provoking essays, fourteen distinguished scholars in the fields of visual studies, art history, literary studies, global studies, and art criticism address the universality of conditions of global migration and invite a rethinking of existing perspectives in postcolonial, transnational, and diaspora studies. They also suggest exciting new empirical and theoretical directions for each of these traditional frameworks.
Synopsis
This latest volume in the critically acclaimed Clark Studies in the Visual Arts series examines art historyand#8217;s attraction to particular objects during various periods. Distinguished contributors grapple with questions of how art and art history are shaped by the confrontation with the objectand#151;painted, drawn, and sculpted; lost, found, and ready-made; exhibited and conserved.
About the Author
Stephen Melville is professor of the history of art at The Ohio State University, specializing in contemporary art, theory, and historiography. He has served as resident faculty at the Getty Summer Institute in Visual and Cultural Studies and as co-curator of
As Painting: Division and Displacement, a major exhibition of contemporary painting.