Richard Woodfield

Announcing a new series from Ashgate Publishing Company— Monographs in Art Historiography
Series Editor: Richard Woodfield,University of Birmingham
The aim of this series is to support and promote the study of the history and practice of art historical writing focussing on its institutional and conceptual foundations, from the past to the present day in all areas and all periods. Besides addressing the major innovators of the past it also encourages re-thinking ways in which the subject may be written in the future. It ignores the disciplinary boundaries imposed by the Anglophone expression 'art history' and allows and encourages the full range of enquiry that encompasses the visual arts in its broadest sense as well as topics falling within archaeology, anthropology, ethnography and other specialist disciplines and approaches. It welcomes contributions from young and established scholars and is aimed at building an expanded audience for what has hitherto been a much specialised topic of investigation. It complements the work of the Journal of Art Historiography.
Proposals should take the form of either
1) a preliminary letter of inquiry, briefly describing the project; or
2) a formal prospectus including: abstract, table of contents, sample chapter, estimate of length (in words, not pages), estimate of the number and type of illustrations to be included, and a c.v.
Please send a copy of either type of proposal to both the series editor and to the publisher:
Professor Richard Woodfield, Editor of the Journal of Art Historiography, http://arthistoriography.wordpress.com, r.woodfield@bham.ac.uk and Erika Gaffney, Publishing Manager, Ashgate Publishing Company, 101 Cherry Street, Suite 420, Burlington VT 05401-4405, USA, egaffney@ashgate.com

The Journal of Art Historiography 2012 Conference
Tuesday, January 10, 2012

The Journal of Art Historiography 2012 Conference
26-27 March 2012
University of Birmingham

After the ‘New Art History’
Speakers:
Whitney Davis (University of California, Berkeley) and Griselda Pollock (University of Leeds)
Fiona Allen and Simon Constantine (University of Leeds)
Rina Arya (University of Wolverhampton)
Noemi de Haro García (Universidad Autónoma de Madrid)
Joanne Heath (University of Leeds)
David Hulks (University of East Anglia)
Krista Kodres (Art Institute, Tallinn)
Jenni Lauwrens (University of Pretoria)
Matthew Rampley (University of Birmingham)
Renja Suominen-Kokkonen (Åbo Akademi University)
Ian Verstegen (Moore College of Art and Design, Philadelphia)
Jennifer Way (University of North Texas)
Shearer West (Oxford University)

The term ‘new art history’ has long been an established – albeit contentious – part of the critical lexicon of the art historical discipline. Associated with the pioneering social and feminist art histories of T J Clark and Griselda Pollock of the 1970s (expanding in subsequent decades to encompass post-colonial, Freudian, post-Freudian and wider gender-studies approaches), it denoted a conceptual shift that foregrounded the dependence of intellectual inquiry on a priori ideological / political values.
In recent years such interlinking has been undermined in a number of ways. Embryonic discourses such as neuro-art history, environmental approaches to art and neo-Darwinian accounts have sought to create alternative ‘objective,’ ‘scientific’ and depoliticised paradigms of inquiry. On the other hand, it has been seen as insufficiently self-critical; for many proponents of visual studies its institutional success has led to a blunted vision, in which the value of basic categories, such as ‘art’ allegedly remain uninterrogated.
Finally, growing external political pressures on the Academy, which have been focused on instrumentalising art history, are potentially threatening to turn the discipline into a service industry for the market, stripping it of its force as a mode of radical social and cultural inquiry.
This conference will examine the state and futures of radical art history within this context. What has been gained for the discipline over the past 40 years, and what are the dangers for these gains in the present? What are the current challenges for radical art history, and how are they being met?

The Full Programme can be found at
http://arthistoriography.files.wordpress.com/2012/01/after-the-new-art-history-final3.pdf

Fee:
Daily rate: £25 Full conference: £40.
Students / unwaged: £10 / £20
Contact: m.j.rampley@bham.ac.uk

December issue of the Journal of Art Historiography is now on line
Thursday, December 08, 2011

Number 5 December 2011

Articles

Anthony Auerbach, ‘The Theoretical Eye’ 5-AA/1

Karen C. Britt, ‘These stones still speak: the progress of research on late Roman and early Byzantine mosaic pavements in the Eastern Mediterranean’ 5-KCB/1

Eliana Carrara, ‘Giovanni Battista Adriani and the drafting of the second edition of the Vite: the unpublished manuscript of the Lettera a Messer Giorgio Vasari in the Archivio Borromeo (Stresa, Italy)’ 5-EC/1

A.A. Donohue, ‘New looks at old books: Emanuel Löwy, Die Naturwiedergabe in der älteren griechischen Kunst’ 5-AAD/1

Maia Wellington Gahtan, ‘Epitaphs in Giorgio Vasari’s Lives’ 5-MWG/1

Eric Garberson, ‘Art history in the university: Toelken – Hotho – Kugler’ 5-EG/1 Tables 5-EG/2

Darrell J. Rohl, ‘The chorographic tradition and seventeenth- and eighteenth-century Scottish antiquaries’ 5-DR/1

Nathan J. Timpano, ‘The dialectics of vision: Oskar Kokoschka and the historiography of expressionistic sight’ 5-NJT/1

Ian Verstegen, ‘Vasari’s progressive (but non-historicist) Renaissance’ 5-IV/1

Papers from the colloquium ‘I saperi di Ernst Gombrich: Teoria del visibile e analisi dell’arte’, Venice, March 2009 organised by Paolo Fabbri and Tiziana Migliore

Preface, Paolo Fabbri and Tiziana Migliore, ‘Ernst Gombrich on the knowledge, theory and analysis of art’ 5-FM/1

Giuseppe Barbieri, ‘The criterion of simplicity in interpretation’ 5-GB/1

Omar Calabrese, ‘The bridge: suggestions about the meaning of a pictorial motif’ 5-OC/1

Lucia Corrain, ‘Beyond the cloud. Gombrich and the blindness of Orion’ 5-LC/1

Paolo Fabbri, ‘Beyond Gombrich: the recrudescence of visual semiotics’ 5-PF/1

Stefano Ferrari, ‘Gombrich, Art and Psychoanalysis’ 5-SF/1

Patrizia Magli, ‘How things look. The “Physiognomic Illusion”’ 5-PM/1

Katia Mazzucco, ‘The work of Ernst H. Gombrich on the Aby M. Warburg fragments’ 5-KM/1

Tiziana Migliore, ‘Discovery or invention? The difference between art and communication according to Ernst Gombrich’ 5-TM/1

Richard Woodfield, ‘Ernst Gombrich: Iconology and the “linguistics of the image”’ 5-RAW/1

Papers from a colloquium dedicated to the work of Fritz Saxl, marking the sixtieth anniversary of his death, organized by Claudia Wedepohl and held at The Warburg Institute on 13th June 2008.

Rembrandt Duits, ‘Reading the Stars of the Renaissance. Fritz Saxl and Astrology’ 5-RD/1

Karin Hellwig, ‘Saxl’s approach to Spanish art: Velázquez and El Greco’ 5-KH/1

Dorothea McEwan, ‘Saxl and Boll’ 5-DMcE/1

Papers from the conference ‘Reconsidering the Historiography of the Historical Avant-Garde(s)’, co-organized by Michelle Jubin and Sam Sadow, students on the PhD program in Art History at the CUNY Graduate Center, New York, April 2011.

Lori Cole, ‘What is the avant-garde? The questionnaire as historiography’ 5-LC/1

Pierluigi Serraino, ‘[A]rchitecture + [P]hotography + [A]rchive: the APA factor in the construction of historiography’ 5-PS/1

Papers from the colloquium ‘Constructing the Discipline: Art History in the UK’ held in Glasgow in November 2009

Hilary Macartney, ‘Experiments in photography as the tool of art history, no. 1: William Stirling’s Annals of the Artists of Spain (1848)’ 5-HM/1

Katia Mazzucco, ‘1941 English Art and the Mediterranean. A photographic exhibition by the Warburg Institute in London’ 5-KM/2

Christoph Schnoor, ‘Colin Rowe: Space as well-composed illusion’ 5-CS/1

Florian Urban, ‘Built historiography in Glasgow’s New Gorbals – the Crown Street Regeneration Project’ 5-FU/1

Beth Williamson, ‘Art history in the art school: the critical historians of Camberwell’ 5-BW/1

Translations

Hubert Damisch, ‘ The Theoretical Eye’ translated by Anthony Auerbach 5-HD/1

Heinrich Gomperz, ‘On Some of the Psychological Conditions of Naturalistic Art’ originally published as ‘Ueber einige psychologische Voraussetzungen der naturalistischen Kunst’, Beilage der Allgemeinen Zeitung, Jahrgang 1905, Nummer 160, München Freitag 14. Juli, 89-93, Nummer 161, Samstag 15. Juli, 98-101. Translated with an introduction by Karl Johns 5-KJ/1

Miao Zhe: Robert Bagley, Max Loehr and the Study of Chinese Bronzes, Ithaca, NY: Cornell East Asia Series, 2008, translated by Wang Haicheng, originally published in Chinese in Dushu, November 2010, 126-33. 5-MZ/1

Riccardo Marchi, ‘Hans Tietze and art history as Geisteswissenschaft in early twentieth-century Vienna’ translated by Clarice Zdanski with an introduction by Riccardo Marchi, originally published as Riccardo Marchi, ‘Hans Tietze e la storia dell’arte come scienza dello spirito nella Vienna del primo Novecento’, Arte Lombarda, 110/111, 1994, 55–66 5-RM/1

Julius Schlosser, ‘A dialogue about the art of portraiture’ Originally published as ‘Gespräch von der Bildniskunst’, Österreichische Rundschau, Volume 6, 1906, 502—516, and republished: Julius Schlosser, Präludien Vorträge und Aufsätze, Berlin: Bard 1927, 227—247. Translated with an introduction by Karl Johns 5-KJ/2

Documents

John Mack, ‘Fetish: Magic Figures in Central Africa’, originally published in Anthony Skelton (ed.), Fetishism: Visualising Power and Desire, London: The South Bank Centre in collaboration with Lund Humphries Publishers, 1995, ISBN 0 85331 677 5 5-JM/1

Kimberly A. Smith, ‘Real Style: Riegl and Early 20th Century Central European Art’, originally published in Centropa: Journal of Central European Art and Architecture 5, n. 1 (January 2005): 16-25. 5-KAS/1

Paul Taylor, ‘Henri Frankfort, Aby Warburg and “Mythopoeic Thought”’ 5-PT/1

Georg Vasold, ‘Riegl, Strzygowski and the development of art’ originally published in Towards a Science of Art History: J. J. Tikkanen and Art Historical Scholarship in Europe, Helsinki: Society of Art History, 2009 5-GV/1

Reviews

Amanda Claridge: ‘Looking for Colour on Greek and Roman Sculpture’. Vinzenz Brinkmann, Oliver Primavesi, Max Hollein, (eds), Circumlitio. The Polychromy of Antique and Medieval Sculpture. Liebighaus Skulpturensammlung, Frankfurt am Main, 2010 5-AC/1

Jim Harris: ‘Looking at Colour on post-Antique Sculpture’. Vinzenz Brinkmann, Oliver Primavesi, Max Hollein, (eds), Circumlitio. The Polychromy of Antique and Medieval Sculpture. Liebighaus Skulpturensammlung, Frankfurt am Main, 2010 5-AH/1

Vanessa Dion Fletcher and Warren Bernauer: ‘‘Mapping Medievalism: An Indigenous Political Perspective’. Kathryn Brush (ed.), Mapping Medievalism at the Canadian Frontier, London Ontario Canada: Museum London and the McIntosh Gallery, 2010 5-FB/1

Catherine Fraixe : ‘Action Française and culture : Life, Times and Legacy’. Olivier Dard, Michel Leymarie, Neil McWilliam (éds), Le maurrassisme et la culture. L’Action française. Culture, société, politique (III), Villeneuve-d’Ascq, Presses universitaires du Septentrion, 2010 370 pp., £20. ISBN 978-2-7574-0147-7 5-CF/1

Eric Garberson: ‘Franz Kugler’. Michel Espagne, Bénédicte Savoy, Céline Trautmann-Waller, Franz Theodor Kugler. Deutscher Kunsthistoriker und Berliner Dichter, Akademie Verlag, Berlin, 2010, ISBN 978-3-05-004645-7, ix + 251 pp, 35 black/white images. 5-EG/3

Robert Gibbs: ‘Gothic Art for the 21st Century?’. Roland Recht, Believing and Seeing: The Art of Gothic Cathedrals, Translated by Mary Whittall, The University of Chicago Press, Chicago and London, 2008 5-RG/1

John Mack: ‘Surfaces on African sculpture’. Leonard Kahan, Donna Page, and Pascal James Imperato (eds) in collaboration with Charles Bordogna and Bolaji Campbell with an introduction by Patrick McNaughton, Surfaces: Color, Substances, and Ritual Applications on African Sculpture, Indiana University Press, 2009 5-JM/2

Matthew Martin: ‘Style and Classification in the History of Art’. Robert Bagley, Max Loehr and the Study of Chinese Bronzes. Style and Classification in the History of Art, Ithaca, NY: Cornell East Asia Series, 2008 5-MM/1

Margaret Olin: ‘German Orientalism’. Suzanne L. Marchand, German Orientalism in the Age of Empire: Religion, Race and Scholarship, Cambridge and Washington, D.C.: Cambridge University Press, 2009 5-MO/1

Edward Payne: ‘”Savage Spain”? On the reception of Spanish art in Britain and Ireland’. Nigel Glendinning and Hilary Macartney, eds, Spanish Art in Britain and Ireland, 1750–1920: Studies in Reception in Memory of Enriqueta Harris Frankfort, Woodbridge: Tamesis, 2010, 307pp., 17 colour and 56 b. & w. illus., £50.00 hbk, ISBN: 9781855662230. 5-EP/1

Ulrich Pfisterer: ‘Formal values and the essence of art’. Paul van den Akker, Looking for Lines. Theories on the Essence of Art and the Problem of Mannerism, Amsterdam: Amsterdam University Press 2010 5-UP/1

Matthew Rampley: ‘Re-reading Riegl’.Peter Noever, Artur Rosenauer and Georg Vasold, eds, Alois Riegl Revisited. Beiträge zu Werk und Rezeption. Contributions to the Opus and its Reception. Vienna: Österreichische Akademie der Wissenschaften, 2010. Michael S. Falser, Wilfried Lipp, Andrzek Tomaszewski, eds, Conservation and Preservation. Interactions between Theory and Practice. In Memoriam Alois Riegl (1858-1905). Proceedings of the International Conference of the ICOMOS International Scientific Committee for the Theory and the Philosophy of Conservation and Restoration, 23-27 April 2008, Vienna. Florence: Polistampa, 2010. 5-MR/1

Lou Taylor: ‘Sources for Fashion History’. Peter McNeil, Fashion: Critical and Primary Sources, Berg, Oxford, 2009 5-LT/1

Responses

Suzanne Marchand, response to Margaret Olin’s review of German Orientalism in the Age of Empire 5-SM/1

Peter McNeill, response to Lou Taylor’s review of Fashion: Critical and Primary Sources 5-PMcN/1

Paul van den Akker, response to Ulrich Pfisterer’s review of Paul van den Akker, Looking for Lines. Theories on the Essence of Art and the Problem of Mannerism, Amsterdam: Amsterdam University Press 2010 5-PvdA/1

Short Reviews

Madhuri Desai: Parul Pandya Dhar (ed.), Indian Art History: Changing Perspectives, New Delhi: D. K. Printworld and National Museum Institute, 2011, 279 pp., 70 b&w illus., ISBN 812460597-1 5-MD/1

Andrew Hopkins: Andrew Leach, What is Architectural History? Polity, Cambridge, 2010 5-AH/1

Kristin A. Phelps: Mikelle Smith Omari-Tunkara, Manipulating the Sacred: Yorùbá Art, Ritual, and Resistance in Brazilian Candomblé. Detroit: Wayne State University Press, 2005 5-KAP/1

Prassanna Raman: Paul Wheatley, The places where men pray together: cities in Islamic lands, seventh though the tenth centuries, Chicago: University of Chicago Press, 2001 5-PR/1

Conference report

Niamh NicGhabhann, ‘Writing Irish Art History’ 5-NNG/1

Books received

Carole P. Biggam, Carole A. Hough, Christian J. Kay and David R. Simmons (eds), New Directions in Colour Studies, Amsterdam/Philadelphia: John Benjamins Publishing Company 2011. xii, 462 pp. ISBN Hb 978 90 272 1188 0 ISBN E-book 978 90 272 8485 3 5-CPB/1

Mark Cruse, Illuminating the Roman d’Alexandre: Oxford, Bodleian Library, MS Bodley 264: The Manuscript as Monument , London: D.S.Brewer 2011, 252 pages , ISBN-10: 1843842807, ISBN-13: 978-1843842804 5-MC/1

Lyckle de Vries, How to create beauty: De Lairesse on the theory and practice of making art, The Netherlands: Primavera Press 2011, 224 pages, ca. b/w 100 ill., ISBN 978-90-5997-102-8 [includes contents, sample chapter ‘Book III - The difference between the Antique and Modern manner’ and index] 5-LdV/1

Parul Pandya Dhar (ed.), Indian Art History: Changing Perspectives, New Delhi: D.K. Printworld (P) Ltd. and National Museum Institute of History of Art, Conservation and Museology 2011, 279 pages, 61 b/w ill., ISBN 13: 978-81-246-0597-4 ISBN 10: 81-246-0597-1 [includes contents, introduction and index] 5-PPD/1

Kasper König, Emily Evans and Falk Wolf (eds), Remembering Forward: Paintings of Australian Aborigines since 1960, London: Paul Holberton 2010, 240 pages, 150 ill. £30, ISBN: 978 1 907372 14 8 5-KEW/1

John Hendrix, Roger Williams and Charles H. Carman (eds), Renaissance Theories of Vision, London: Ashgate 2010, 258 pages, 18 b&w ill., £65.00, ISBN 978-1-4094-0024-0 [includes contents, introductory chapter and index] 5-HWC/1

Christopher R. Marshall (ed.), Sculpture and the Museum, London: Ashgate 2011, 286 pages, 63 b/w ill., £55.00, ISBN 978-1-4094-0910-6 [includes contents, introduction and index] 5-CM/1

Announcements

The Warburg Institute: A Special Issue on The Library and Its Readers, Common Knowledge, Issue 18, number 1 (available January 2012) 5-CK/1

‘Josef Strzygowski and the sciences of art’, preliminary conference programme, 29-31.03.2012, Bielsko-Biała, Poland 5-JS/1

Voices in Art History: AAH Oral Histories 5-AAH/1

Journal of Art Historiography Number 4
Wednesday, June 01, 2011

Australian Art Historiography

Guest edited by Jaynie Anderson, The University of Melbourne

Articles

Jaynie Anderson, ‘Art Historiography in Australia and New Zealand’ 4-JA/1

Juliette Peers, ‘The Canon and its Discontents’ 4-JP/1

Ian McLean, ‘Reverse perspective: Bernard Smith’s worldview and the cosmopolitan imagination’ 4-IMcL/1

Susan Lowish, ‘Setting the scene: early writing on Australian Aboriginal art’ 4-SL/1

Benjamin Thomas, ‘Daryl Lindsay and the appreciation of indigenous art: ‘no mere collection of interesting curiosities’ 4-BKT/1

Rex Butler and A D S Donaldson, ‘Cities within Cities: Australian and New Zealand Art in the Twentieth Century’ 4-RBAD/1

Andrew Sayers, ‘Curators and Australian art history’ 4-AS/1

Catherine De Lorenzo, Joanna Mendelssohn, Catherine Speck, ‘1968-2008: Curated exhibitions and Australian art history’ 4-CLJMCS/1

Terry Smith, ‘Inside out, outside in: changing perspectives in Australian art historiography’ 4-TS/1

Heather Barker and Charles Green, ‘No place like home: Australian art history and contemporary art at the start of the 1970s’ 4-HBCG/1

Peter McNeil, ‘What’s the Matter?: The Object in Australian Art History’ 4-PMcN/1

Helen Ennis, ‘Other Histories: Photography and Australia’ 4-HE/1

Howard Morphy, ‘Moving the body painting into the art gallery — knowing about and appreciating works of Aboriginal art’ 4-HM/1

Jonathan Mané Wheoki, ‘Art’s histories in Aotearoa New Zealand’ 4-JMW/1

Reviews

Anthony Gardner and Huw Hallam, ‘On the contemporary – and contemporary art history’. A review of Terry Smith, What Is Contemporary Art, Chicago: University of Chicago Press, 2009. 4-AGHH/1

Peter McNeil, ‘“Subterranean influence”: Debating the Life of Ursula Hoff, Art Historian’. A review of Sheridan Palmer. Centre of the Periphery. Three European Art Historians in Melbourne. Australian Scholarly Publishing. 2009 and Colin Holden. The Outsider: A Portrait of Ursula Hoff. Melbourne: Australian Scholarly Publishing. 2009. 4-PMcN/2

Documents

Jaynie Anderson, ‘Interrogating Joe Burke and His Legacy: The Joseph Burke Lecture 2005’ 4-JA/2

Jaynie Anderson, ‘Art history’s history in Melbourne: Franz Philipp in correspondence with Arthur Boyd’ 4-JA/3

Mary Eagle, ‘Multiple Contexts in the first decades of the twentieth century’ 4-ME/1

Alison Inglis, ‘Art at Second Hand: Prints after European Pictures in Victoria before 1870′ 4-AI/1

Howard Morphy, ‘On the possible role of the Aboriginal Arts Board in the Marketing of Art from Yirrkala’, Submission to the [ANU] Senate Standing Committee on Education, Science and the Arts 1975 4-HM/2

Ronald Radford, ‘Acquiring and presenting Aboriginal art in art museums: my first 30 years’ 4-RR/1

Terry Smith, ‘The Provincialism problem’ 4-TS/2

Terry Smith, ‘Writing the history of Australian art: its past, present and possible future’ 4-TS/3

Susan Steggall, 'Tradition and its transformation: Joan Kerr, Housewife to historian' 4-SS/1

Daniel Thomas, 'Art Museums in Australia: A Personal Retrospect' 4-DT/2

Daniel Thomas, 'Aboriginal Art: Who was interested?' 4-DT/1

Bibliography of art historiography in Australia and New Zealand

Benjamin Thomas, ‘Australian and New Zealand art historiography’ 4-BJT/2

Notices

150 Years of the National Gallery of Victoria 4-NGV/1

Recent publications of the National Gallery of Victoria 4-NGV/2