The project of global art history calls for balanced treatment of artifacts and a unified approach. This volume emphasizes questions of transcultural encounters and exchanges as circulations. It presents a strategy that highlights the processes and connections among cultures, and also responds to the dynamics at work in the current globalized art world.
The editors’ introduction provides an account of the historical background to this approach to global art history, stresses the inseparable bond of theory and practice, and suggests a revaluation of materialist historicism as an underlying premise. Individual contributions to the book provide an overview of current reflection and research on issues of circulation in relation to global art history and the globalization of art past and present. They offer a variety of methods and approaches to the treatment of different periods, regions, and objects, surveying both questions of historiography and methodology and presenting individual case studies. An 'Afterword' by James Elkins gives a critique of the present project. The book thus deliberately leaves discussion open, inviting future responses to the large questions it poses.
About the Author
Thomas DaCosta Kaufmann is Frederick Marquand Professor of Art and Archaeology, Princeton University, USA. Catherine Dossin is Associate Professor of Art History, Purdue University, USA. Béatrice Joyeux-Prunel is Associate Professor of Art History, École normale supérieure, France.
Table of Contents
Contents: Introduction: reintroducing circulations: historiography and the project of global art history, Thomas DaCosta Kaufmann, Catherine Dossin, and Béatrice Joyeux-Prunel; Reflections on world art history, Thomas DaCosta Kaufmann; Art history and Iberian worldwide diffusion: westernization/globalization/Americanization, Serge Gruzinski; Circulation and beyond - the trajectories of vision in early modern Eurasia, Monica Juneja; Circulations: early modern architecture in the Polish-Lithuanian borderland, Carolyn C. Guile; Cultural transfers in art history, Michel Espagne; Spatial translation and temporal discordance: modes of cultural circulation and internationalization in Europe (second half of the 19th and first half of the 20th century, Christophe Charle; Mapping cultural exchange: Latin American artists in Paris between the wars, Michele Greet; The global NETwork: an approach to comparative art history, Piotr Piotrowski; Global conceptualism? Cartographies of conceptual art in pursuit of decentering, Sophie Cras; The German century? How a geopolitical approach could transform the history of Modernism, Catherine Dossin and Béatrice Joyeux-Prunel; Afterword, James Elkins; Index.