The new art history : a critical introduction / Jonathan Harris.

Enhanced descriptions from Syndetics:

The New Art History provides a comprehensive introduction to the fundamental changes which have occurred in both the institutions and practice of art history over the last thirty years.

Jonathan Harris examines and accounts for the new approaches to the study of art which have been grouped loosely under the term 'the new art history'. He distinguishes between these and earlier forms of 'radical' or 'critical' analysis, explores the influence of other disciplines and traditions on art history, and relates art historical ideas and values to social change.

Structured around an examination of key texts by major contemporary critics, including Tim Clarke, Griselda Pollock, Fred Orton, Albert Boime, Alan Wallach and Laura Mulvey, each chapter discusses a key moment in the discipline of art history, tracing the development and interaction of Marxist, feminist and psychoanalytic critical theories. Individual chapters include: * Capitalist Modernity, the Nation-State and Visual Representation * Feminism, Art, and Art History * Subjects, Identities and Visual Ideology * Structures and Meanings in Art and Society * The Representation of Sexuality

Table of contents provided by Syndetics

• List of illustrations (p. ix)
• Acknowledgements (p. xi)
• Introduction (p. 1)
• Aims and readers (p. 1)
• New, critical, radical, social (p. 6)
• Terms and texts (p. 10)
• Readings, meanings, values, and politics (p. 17)
• Art history, radical art history, and real history (p. 22)
• Notes (p. 28)
• 1 Radical art history: back to its future? (p. 35)
• Prejudices, perspectives, and principles (p. 35)
• For 'new' read 'old'? (p. 39)
• Politics, modernity, and radical art history (p. 43)
• Structure, agency, and art (p. 47)
• Notes (p. 56)
• Select bibliography (p. 60)
• 2 Capitalist modernity, the nation-state, and visual representation (p. 63)
• '... no art history apart from other kinds of history' (p. 64)
• Elements within 'the social history of art' (p. 67)
• Institutions and ideologies (p. 73)
• Meanings and materialism (p. 81)
• Notes (p. 88)
• Select bibliography (p. 91)
• 3 Feminism, art, and art history (p. 95)
• Politics, position, perspective (p. 96)
• Greatness, creativity, and cultural value (p. 100)
• Ideologies, sexual difference, and social change (p. 106)
• Modernism, modernity, and feminist art history in the 1990s (p. 113)
• Notes (p. 123)
• Select bibliography (p. 126)
• 4 Subjects, identities, and visual ideology (p. 129)
• Psychoanalysis and radical politics after the 1960s (p. 130)
• Self, sex, society, and culture (p. 136)
• Psychoanalysis and systems of signification (p. 143)
• Sight, social ordering, and subjectivity (p. 147)
• Notes (p. 156)
• Select bibliography (p. 159)
• 5 Structures and meanings in art and society (p. 161)
• Signs, discourse, and society (p. 162)
• Marks and meanings (p. 166)
• Making and masking the 'real' (p. 170)
• Perception, narration, and 'visual culture' (p. 178)
• Notes (p. 188)
• Select bibliography (p. 190)
• 6 Searching, after certainties (p. 193)
• Beyond subjects and structures (p. 194)
• Signs, surfaces, and civilisation (p. 196)
• Politics, culture, and post-modernism (p. 208)
• Cultivating nature (p. 213)
• Notes (p. 222)
• Select bibliography (p. 225)
• 7 Sexualities represented (p. 227)
• Matter and materialism (p. 228)
• Semantic/somatic: Charles Demuth and Rosa Bonheur (p. 232)
• Body heat (p. 241)
• The matter of ideals (p. 246)
• Notes (p. 257)
• Select bibliography (p. 259)
• Conclusion: the means and ends of radical art history (p. 261)
• Radicalism in art history and 'identity-politics' (p. 262)
• Race and representation (p. 267)
• Somatic/aesthetic/exotic: bodies and blackness (p. 276)
• 'Arguments and values', not 'theories and methods' (p. 285)
• Notes (p. 288)
• Select bibliography (p. 290)
• Index (p. 291)

Author notes provided by Syndetics