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Peasants, Warriors, and Wives
In Peasants, Warriors, and Wives, Keith Moxey examines woodcut images from the German Reformation that have often been ignored as a crude and inferior form of artistic production. In this richly illustrated study, Moxey argues that while they may not satisfy received notions of "art," they nevertheless constitute an important dimension of the visual culture of the period. Far from being manifestations of universal public opinion, as a cursory acquaintance with their subject matter might suggest, such prints were the means by which the reformed attitudes of the middle and upper classes were disseminated to a broad popular audience.
Visual Time
Visual Time offers a rare consideration of the idea of time in art history. Non-Western art histories currently have an unprecedented prominence in the discipline. To what extent are their artistic narratives commensurate with those told about Western art? Does time run at the same speed in all places? Keith Moxey argues that the discipline of art history has been too attached to interpreting works of art based on a teleological categorization—demonstrating how each work influences the next as part of a linear sequence—which he sees as tied to Western notions of modernity. In contrast, he emphasizes how the experience of viewing art creates its own aesthetic time, where the viewer is ent...
The Practice of Theory
Many art historians regard poststructuralist theory with suspicion; some even see its focus on the political dimension of language as hostile to an authentic study of the past. Keith Moxey bridges the gap between historical and theoretical approaches with the provocative argument that we cannot have one without the other. "If art history is to take part in the processes of cultural transformation that characterize our society," he writes, "then its historical narratives must come to terms with the most powerful and influential theories that currently determine the way in which we conceive of ourselves." After exploring how the insights offered by deconstruction and semiotics change our under...
Visual Culture
“We can no longer see, much less teach, transhistorical truths, timeless works of art, and unchanging critical criteria without a highly developed sense of irony about the grand narratives of the past,” declare the editors, who also coedited Visual Theory: Painting and Interpretation (1990). The field of art history is not unique in finding itself challenged and enlarged by cultural debates over issues of class, ethnicity, nationality, sexual orientation, and gender. Visual Culture assembles some of the foremost scholars of cultural studies and art history to explore new critical approaches to a history of representation seen as something different from a history of art. CONTRIBUTORS: Andres Ross, Michael Ann Holly, Mieke Bal, David Summers, Constance Penley, Kaja Silverman, Ernst Van Alphen, Norman Bryson, Wolfgang Kemp, Whitney Davis, Thomas Crow, Keith Moxey, John Tagg, Lisa Tickner. Ebook Edition Note: Ebook edition note: all illustrations have been redacted.
Time in the History of Art
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.
The Practice of Persuasion
This sequel to The Practice of Theory stresses the continued need for self-reflective awareness in art historical writing. Offering a series of meditations on the discipline of art history in the context of contemporary critical theory, Moxey addresses such central issues as the status of the canon, the nature of aesthetic value, and the character of historical knowledge. The chapters are linked by a common interest in, even fascination with, the paradoxical power of narrative and the identity of the authorial voice. Moxey maintains that art history is a rhetoric of persuasion rather than a discourse of truth. Each chapter in The Practice of Persuasion attempts to demonstrate the paradoxes i...
Perfection's Therapy
A deft reinterpretation of the most zealously interpreted picture in the Western canon as a therapeutic artifact. Albrecht Dürer's famous portrayal of creative effort in paralysis, the unsurpassed masterpiece of copperplate engraving titled Melencolia I, has stood for centuries as a pictorial summa of knowledge about the melancholic temperament, a dense allegory of the limits of earthbound arts and sciences and the impossibility of attaining perfection. Dubbed the “image of images” for being the most zealously interpreted picture in the Western canon, Melencolia I also presides over the origins of modern iconology, art history's own science of meaning. Yet we are left with a clutter of ...
What is an Image?
"Brings together historians, philosophers, critics, postcolonial theorists, and curators to ask how images, pictures, and paintings are conceptualized. Issues discussed include concepts such as "image" and "picture" in and outside the West; semiotics; whether images are products of discourse; religious meanings; and the ethics of viewing"--Provided by publisher.
Is Art History Global?
This is the third volume in The Art Seminar, James Elkin's series of conversations on art and visual studies. Is Art History Global? stages an international conversation among art historians and critics on the subject of the practice and responsibility of global thinking within the discipline. Participants range from Keith Moxey of Columbia University to Cao Yiqiang, Ding Ning, Cuautemoc Medina, Oliver Debroise, Renato Gonzalez Mello, and other scholars.
The Practice of Theory
Many art historians regard poststructuralist theory with suspicion; some even see its focus on the political dimension of language as hostile to an authentic study of the past. Keith Moxey bridges the gap between historical and theoretical approaches with the provocative argument that we cannot have one without the other. "If art history is to take part in the processes of cultural transformation that characterize our society," he writes, "then its historical narratives must come to terms with the most powerful and influential theories that currently determine the way in which we conceive of ourselves." After exploring how the insights offered by deconstruction and semiotics change our under...
