Time in the history of art : temporality, chronology, and anachrony
著者
書誌事項
Time in the history of art : temporality, chronology, and anachrony
（Studies in art historiography / series editor, Richard Woodfield）
Routledge, 2018
- : hbk
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注記
Includes bibliographical references and index
内容説明・目次
内容説明
Addressed to students of the image-both art historians and students of visual studies-this book investigates the history and nature of time in a variety of different environments and media as well as the temporal potential of objects. Essays will analyze such topics as the disparities of power that privilege certain forms of temporality above others, the nature of temporal duration in different cultures, the time of materials, the creation of pictorial narrative, and the recognition of anachrony as a form of historical interpretation.
目次
Introduction: Dan Karlholm and Keith Moxey Part I. Historical Time Chapter 1: Is History to Be Closed, Saved, or Restarted? Considering Efficient Art History Chapter 2: What Time is it in the History of Art? Part II: Post-Colonial Time Chapter 3: Time processes in the history of the Asian Modern Chapter 4: Colonial Modern: A Clash of Colonial and Indigenous Chronologies Chapter 5: Artists, amateurs and the pleated time of Ottoman modernity Chapter 6: The Time of Translation: Victor Burgin and Sedad Eldem in Virtual Conversation Part III: Artist's Time Chapter 7: Arresting What Would Otherwise Slip Away: The Waiting Images of Jacob Vrel Chapter 8: Twisted Time: Fernando Bryce's Art of History Chapter 9: Heterochronies: The Gospel According to Caravaggio Part V: Ontological Time Chapter 10: The Phenomenal Sublime: Time, Matter, Image in Mesopotamian Antiquity Chapter 11: Resisting Time: On How Temporality Shaped Medieval Choice of Materials Chapter 12: Sarah Sze's The Last Garden and the Temporality of Wonder Chapter 13: Showtime and Exposure Tie. The Contradictions of Social Photography and the Critical Role of Sensitive Plates for Rethinking the Temporality of Artworks Chapter 14: 'Objects moving are not impressed': Reading into the blur
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