Over a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time. After the End of Art presents Danto’s first full-scale reformulation of his original insight, showing how, with the eclipse of abstract expressionism, art has deviated irrevocably from the narr...(展开全部)

Over a decade ago, Arthur Danto announced that art ended in the sixties. Ever since this declaration, he has been at the forefront of a radical critique of the nature of art in our time. "After the End of Art" presents Danto's first full-scale reformulation of his original insight, showing how, with the eclipse of abstract expressionism, art has deviated irrevocably from the na...(展开全部)

In The End of Art, Donald Kuspit argues that art is over because it has lost its aesthetic import. Art has been replaced by 'postart', a term invented by Alan Kaprow, as a new visual category that elevates the banal over the enigmatic, the scatological over the sacred, cleverness over creativity. Tracing the demise of aesthetic experience to the works and theory of Marcel Ducha...(展开全部)

本书两位作者简•罗伯森（Jean Robertson）与克雷格•迈克丹尼尔（Craig McDaniel），都是美国印第安那大学－普杜大学印第安那波利斯分校艺术与设计学院教授。二人合著有《绘画语言：材料、技术、形式、内容》等著作。 匡骁，哈尔滨人，英美文学专业硕士、文艺学博士，现为同济大学外国语学院副教授。博士论文研究方向为美国当代艺术理论家和美学家乔治·迪基。

Review "An excellent book that approaches contemporary art in ways that are relevant to how art is made today, ways that move beyond the old categories of medium and genre to examine a group of issues that motivate and structure much of the content of today's art."--Timothy Van Laar, University of Illinois at Urbana-Champaign and coauthor of Art with a Difference: Looking at Di...(展开全部)

In 1764, Johann Joachim Winckelmann published a key early instance of art-historical thinking, his "Geschichte der Kunst des Alterthums", here translated into English for the first time. Dazzled by the sensuous and plastic beauty of recently excavated artifacts - coins, engraved gems, vases, paintings, reliefs, and statues - Winckelmann synthesized the visual and written eviden...(展开全部)

In the modern era, the archive--official or personal--has become the most significant means by which historical knowledge and memory are collected, stored, and recovered. The archive has thus emerged as a key site of inquiry in such fields as anthropology, critical theory, history, and, especially, recent art. Traces and testimonies of such events as World War II and ensuing co...(展开全部)

No one has been more influential in the contemporary practice of art history than Erwin Panofsky, yet many of his early seminal papers remain virtually unknown to art historians. As a result, Michael Ann Holly maintains, art historians today do not have access to the full range of methodological considerations and possibilities that Panofsky's thought offers, and they often rem...(展开全部)

No one has been more influential in the contemporary practice of art history than Erwin Panofsky, yet many of his early seminal papers remain virtually unknown to art historians. As a result, Michael Ann Holly maintains, art historians today do not have access to the full range of methodological considerations and possibilities that Panofsky's thought offers, and they often rem...(展开全部)

This masterly collection of texts interrogates the raging academic question, What is art history? Editor Preziosi, who directs ground-breaking critical studies of art history and museology, provides introductions to 35 challenging readings gathered in nine chapters. This plethora of alternatives is curiously complicated, even obfuscating. Covered here are the most current and r...(展开全部)