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In this stimulating collection of essays, John Roberts draws together a wide range of work on some of the most important artists of the post-war period. Written by leading art historians and artist-writers, the essays take a sharply critical look at the construction of modern art history. The artists discussed include Francis Picabia, Robert Smithson, Ad Reinhardt, Andy Warhol, Gerhard Richter, Mary Kelly, Cindy Sherman, Victor Burgin and Laurie Anderson.
The extensive influence of post-structuralism on all schools of art history has brought about a widespread derogation of questions around intentionality and social agency. Free-ranging textual interpretation has come to outweigh causal analysis. Art Has No History! reverses this bias. Putting the artist back into art history, the essays reinstate the claims for historical materialism as a theory of the conflictual socialization of individuals. Acknowledging the dissemblances involved in the representations of artistic invention, the book challenges the self-image of traditional art history and the radical New Art History alike.
In his introduction, John Roberts gives a fascinating account of the vicissitudes of Marxist writing on art, from Max Raphael and Arnold Hauser to T.J. Clark and Griselda Pollock. Placing the debates on intention and agency in their wider political context, he refers to what he calls “the continuing influence of historical materialism on the best Anglophone art writing today.” Art Has No History! is a lively and iconoclastic contribution to that tradition.
From the Hardcover edition.
- Sales Rank: #2342638 in Books
- Brand: Brand: Verso
- Published on: 1994-08-17
- Released on: 1994-08-17
- Original language: English
- Number of items: 1
- Dimensions: 9.00" h x .70" w x 6.00" l, 1.16 pounds
- Binding: Paperback
- 312 pages
- Used Book in Good Condition
From School Library Journal
Roberts's introductory polemic, and the ten essays by British artists and writers, are meant to be provocative. Their highly valid point is that modern art has been heaped with ideological baggage-baggage that has ultimately detracted from the understanding of artistic production. The history of Modernism has attracted a great variety of ideologies, and art history has not been exempt from this trend. While this anthology is mainly concerned with historical materialism, its writings also illustrate how British art theory has been more militantly radical than in other countries. The essays focus on specific artists, from Picabia to Laurie Anderson, and how their creative intentions can be stripped from a welter of rationalizing critiques. The language and dialectics demonstrated here are not for the lay reader; the authors' arguments are clearly meant for students and specialists. Consequently, this publication is an elective purchase for specialized art collections.-Paula A. Baxter, NYPL
Copyright 1994 Cahners Business Information, Inc.
About the Author
John Roberts is Professor of Art and Aesthetics at the University of Wolverhampton. His books include The Art of Interruption: Realism, Photography and the Everyday; The Philistine Controversy (with Dave Beech), Philosophizing the Everyday, and The Necessity of Errors. He is also a contributor to Radical Philosophy, Oxford Art Journal, Historical Materialism, Third Text, and Cabinet magazine. He lives in London.
From the Hardcover edition.
Most helpful customer reviews
2 of 2 people found the following review helpful.
Transmogrification and intertextuality
By Luca Graziuso and Marina Ross
Yes, the title of this review is meant to suggest the postmodern scholarship and the dense technical vocabulary employed by the essaysts in this volume. But if I choose to caution lay readers I don't intend to dissuade the more seasoned art history reader who will find in this collection a variety of scintillating commentary on artists who've managed to reconfigure and displace the ideological ground upon which art criticism has been erected. The quality is exceptional and the essays are of long-standing value, often referenced and referencing other scholars and approaches. It is a fun read but also a cerebral conceptual description of the phenomenological surrender that has repeatedly overdetermined and coopted the traditions of modernist scholarship. As Jhon Roberts concicely and lucidly describes these critical readings as evincing a position towards art history that is informed by "a radical disdain for notions of a unitary field of art historical investigation, and - at least since the sixties - one that centers on the superfluity of historical analysis in the face of individual aesthetic experiences." Exclusively dealing with anglophone critical episodes this anthology charts ideological struggles within critical interruptions whose theoretical approach defines the terrain of recent scholarship. The works discussed range from Picabia to Cindy Sherman with exceptional stops through Jasper Johns and Gerhard Richter. Of outstanding contribution is Catherine Lupton's reading of Mary Kelley's work and Jeffrey Steele's essay on Robert Smithson. But to be fair the entire collection is worth careful reading and should prove to be a continued resource for contemporary scholarship.
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