A world art history and its objects
Author(s)
Bibliographic Information
A world art history and its objects
Pennsylvania State University Press, c2008
- : pbk
Available at 4 libraries
  Aomori
  Iwate
  Miyagi
  Akita
  Yamagata
  Fukushima
  Ibaraki
  Tochigi
  Gunma
  Saitama
  Chiba
  Tokyo
  Kanagawa
  Niigata
  Toyama
  Ishikawa
  Fukui
  Yamanashi
  Nagano
  Gifu
  Shizuoka
  Aichi
  Mie
  Shiga
  Kyoto
  Osaka
  Hyogo
  Nara
  Wakayama
  Tottori
  Shimane
  Okayama
  Hiroshima
  Yamaguchi
  Tokushima
  Kagawa
  Ehime
  Kochi
  Fukuoka
  Saga
  Nagasaki
  Kumamoto
  Oita
  Miyazaki
  Kagoshima
  Okinawa
  Korea
  China
  Thailand
  United Kingdom
  Germany
  Switzerland
  France
  Belgium
  Netherlands
  Sweden
  Norway
  United States of America
Note
Includes bibliographical references (p. [155]-165) and index
Contents of Works
- Overture: Islamic carpets in European paintings
- Works of art and art-historical narratives
- Monocultural art-history narratives
- Why monoculturalism is not the whole story
- What happens when art-making traditions intersect
- Charts and works of art
- Importance of an aesthetic
- Exotic aesthetics
- How exotic can exotic art be?
- Our world art history is imperialism seen aesthetically
- Mutual respect as an ethical ideal
- Conclusion: the coming transformation of Western art history
Description and Table of Contents
Description
Is writing a world art history possible? Does the history of art as such even exist outside the Western tradition? Is it possible to consider the history of art in a way that is not fundamentally Eurocentric? In this highly readable and provocative book, David Carrier, a philosopher and art historian, does not attempt to write a world art history himself. Rather, he asks the question of how an art history of all cultures could be written-or whether it is even possible to do so. He also engages the political and moral issues raised by the idea of a multicultural art history. Focusing on a consideration of intersecting artistic traditions, Carrier negotiates the way meaning and understanding shift or are altered when a visual object from one culture, for example, is inserted into the visual tradition of another culture. A World Art History and Its Objects proposes the use of temporal narrative as a way to begin to understand a multicultural art history.
Table of Contents
Contents
List of Figures and Diagrams
Preface
Acknowledgments
Introduction
Overture: Islamic Carpets in European Paintings
1. Works of Art and Art-Historical Narratives
2. Monocultural Art-History Narratives
3. Why Monoculturalism Is Not the Whole Story
4. What Happens when Art-Making Traditions Intersect
5. Charts and Works of Art
6. The Importance of an Aesthetic
7. Exotic Aesthetics
8. How Exotic Can Exotic Art Be?
9. Our World Art History Is Imperialism Seen Aesthetically
10. Mutual Respect as an Ethical Ideal
Conclusion: The Coming Transformation of Western Art History
Selective Annotated Bibliography
Index
by "Nielsen BookData"