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Informationen zum Autor Robert Slifkin is an Associate Professor of Fine Arts at the Institute of Fine Arts, New York University, USA. He is the author of The New Monuments and the End of Man: U.S. Sculpture Between War and Peace, 1945-1975 (2019) and Out of Time: Philip Guston and the Refiguration of American Ar t (2013) and his essays have appeared in journals such as Artforum , Art Bulletin , October , the Oxford Art Journal , and Racquet . Anthony E. Grudin received his PhD in art history from University of California, Berkeley, USA in 2008. He is the author of Warhol's Working Class (2017), and Animal Warhol (forthcoming). His essays have appeared in Oxford Art Journal , October , and Criticism . He has taught at the University of California, Berkeley, California College of the Arts, and the University of Vermont. Klappentext The Present Prospects of Social Art History represents a major reconsideration of how art historians analyze works of art and the role that historical factors, both those at the moment when the work was created and when the historian addresses the objects at hand, play in informing their interpretations. Featuring the work of some of the discipline's leading scholars, the volume contains a collection of essays that consider the advantages, limitations, and specific challenges of seeing works of art primarily through a historical perspective. The assembled texts, along with an introduction by the co-editors, demonstrate an array of possible methodological approaches that acknowledge the crucial role of history in the creation, reception, and exhibition of works of art.A collection of new scholarly essays on the relationship between art and history. Zusammenfassung The Present Prospects of Social Art History represents a major reconsideration of how art historians analyze works of art and the role that historical factors, both those at the moment when the work was created and when the historian addresses the objects at hand, play in informing their interpretations. Featuring the work of some of the discipline's leading scholars, the volume contains a collection of essays that consider the advantages, limitations, and specific challenges of seeing works of art primarily through a historical perspective. The assembled texts, along with an introduction by the co-editors, demonstrate an array of possible methodological approaches that acknowledge the crucial role of history in the creation, reception, and exhibition of works of art. Inhaltsverzeichnis List of Figures Introduction, Robert Slifkin (New York University, USA) and Anthony E. Grudin (University of Vermont, USA) 1. Social Art History in Retrospect, Elizabeth Mansfield (Getty Foundation, USA) 2. Marat's Two Bodies, Hector Reyes (University of Southern California, Dornsife, USA) 3. The Anti-Heroism of Modern Life, or the Social History of Art in Standard Time, André Dombrowski (University of Pennsylvania, USA) 4. T. J. Clark, Peasant Materialism, and the End of Social Art History, Anthony E. Grudin (University of Vermont, USA) 5. Daumier and Method, Jordan M. Rose (University of California, San Diego, USA) 6. The Age of Social Art History: Berger, Clark, Fried, Alexander Nemerov (Stanford University, USA) 7. A Secret History of Martin Wong, Marci Kwon (Stanford University, USA) 8. Vernacular Modernism All Over the Deep South, Our Literal Speed (Independent Artists and Scholars, USA) 9. Note to Self: On the Blurring of Art and Life, Jo Applin (Courtauld Institute, UK) 10. The Role of Form in the Social History of Art, Joshua Shannon (University of Maryland, USA) 11. Abject Art History, Robert Slifkin (New York Uni...
